By James Gilmore
As I Lay Dying examines the uncensored inner monologue of family members experiencing deep grief in what is more aptly titled a work of narrative poetry than literary fiction. Seemingly written in a single fever-pitch binge, Faulkner’s poignant discourse and extensive use of symbolism comes to the reader through the enigmatic filter of the inner mind.
As I Lay Dying warrants close study and an open mind. It is not for everyone.
Rating: 4 / 5
By James Gilmore
Eric Flint’s 1632 is an alternative history science fiction novel about a small town in present day West Virginia that is suddenly transported back in time to Germany during the devastating Thirty Years’ War in the year 1632. At its heart, 1632 is a romantic view of classic American ideals clashing with and conquering those of the oppressed, war-torn 17th century continental Europe, pushing normal small town folk into extraordinary circumstances.
Eric Flint executes the unusual and exceptionally difficult premise with marvelous ease and methodical reasoning, exploring the promise of the premise with detailed thoroughness. Despite reviews which misleadingly describe the book as “action packed” 1632 is mostly a relationship-oriented piece with a few periods of intense action counterpointed against extended laconic sections of blossoming romance.
The plentiful characters populating the novel surprise the reader with their variance, color, and very human likeability, which makes the exploration their relationships a pleasure, even if the story does get bogged down in a disproportionate amount of romance during the second act. The large cast prevents great depth in character development. Regardless, it’s obvious to the reader that Flint is an author who genuinely loves his characters.
One of the greatest shortcomings of 1632 is its failure to live up to the high stakes generated by the premise. Main characters have things pretty easy and rarely (if ever) actually lose anything of value, while any obstacles that do arise are circumvented without great difficulty. Greater challenges and higher stakes conflict are needed in a world where innumerable dangers lurk in the shadows. Unfortunately, the dangers threaten but seldom actually emerge from the periphery.
Eric Flint’s 1632 may be an acquired taste for most, but don’t hesitate to pick up a copy if you are in the mood for something new, unique and quasi-historical.
Rating: 3.5 / 5
By James Gilmore
The Girl with the Dragon Tattoo by Stieg Larsson is an altogether pleasurable and smooth read, even in spite of the frequent, overly burdensome exposition and a vast proliferation of details almost too numerous for the reader to continually to keep in mind, requiring an extra dosage of concentration while reading.
As for the character of Lisbeth Salander, she is one of the most fascinating, inescapably magnetic characters in modern fiction, a curiosity or enigma that sucks us into slavering to learn more about her.
The author Stieg Larsson passed away on November 9, 2004.
Rating: 4 / 5
by James Gilmore
Although all of Chuck Palahniuk’s novels satire American culture, Pygmy is perhaps the most pungent of the author’s bibliography.
Technically sound, fascinating and shocking. And while many readers may take issue with the nature of certain violent events which occur in the story, these events are in fact appropriate to the story, even if they are presented in a fashion to maximize shock factor.
The audio book recording of the book is an excellent alternative for Palahniuk fans who wish to avoid the grammar headaches of reading the novel’s own form of pidgin English, which can be extremely laborious.
Pygmy is an absolute must-read for fans of Chuck Palahniuk. However, strangers to his work may find the book distasteful if not virtually impossible to read. On the other hand, adventurous readers should absolutely give the book a perusal.
by James Gilmore
Woody Allen’s Zelig is a light-hearted, tongue-in-cheek mockumentary told through a veritable 1930s-style news reel. Despite being a simple love story at heart, Allen’s film demonstrates remarkable subtlety of theme about a common man who expresses his desire to fit in to society by literally adopting the characteristics of others. Zelig not only entertains, but manages to expose the desires of every human being through the fantastic journey of one human chameleon.
by James Gilmore
Captain America: The First Avenger is the best of the “Avenger” origin movies to date. Although well written and directed, special recognition is in order for the film’s excellent casting, studded with marvelous actors and nuanced, layered performances. Hugo Weaving is a delight as always—that is, until he takes off his mask, at which point he loses his broad range of subtleties and becomes a mere caricature (as disappointedly expected in the superhero genre). Chris Evans displays remarkable flexibility in his transformation into Steve Rogers compared with his previous performance as the Human Torch in both Fantastic Four films wherein Evans plays a character who could not be more different. Impressive performances by Stanley Tucci and Tommy Lee Jones are also unavoidably worth noting.
Invested into the story is an intelligent journey toward the burgeoning of Captain America as superhero, playing upon not only the usual choices of balancing heroism and humanness but also the very idea of Captain America as an icon of World War II symbolism. Captain America ends up parodying his future self before actually taking the plunge into his role as true hero. Few superhero stories can boast an equally clever step. To cement his role as hero icon of the War, Captain America also makes the choice to not live to fight another day (in his own time), but makes the ultimate sacrifice—the mark of a true hero—one few comic book “super” heroes make, even though the term “hero” implies such a requisite act in order to receive such a lofty title.
Still, at times the action pushes beyond the realm of believability, which is further exacerbated by a few sub-par special effects and the obligatory comic book-like action sequences in the third act (which are always a bit harder to swallow). Also, one finds the glaring lack of visual verisimilitude in Steve Rogers’ pre-superhero physique annoying to the point of distraction while the minions of Hydra appear plagiarized from an unrelated videogame called Return to Castle Wolfenstein (2001).
Overall, an enjoyable superhero film with a little something more.
by James Gilmore
13 Assassins is nothing less than an old-fashioned samurai movie in color. You might even call it Seven Samurai II (or x2 is almost as appropriate). The slow, character-oriented first half of the film is just like that of class Kurasawa, making the second half all the more dazzling when it slams the viewer into 21st century filmmaking. Takashi Miike uses opposing perspectives of the same samurai ideology to juxtapose violence as a necessity against violence as a luxury. Without a doubt, Miike has created some of the greatest samurai battles ever committed to film. Unfortunately, 13 Assassins appears lacking in deep, profound thematic material.
by James Gilmore
Cloverfield (2008) is like reliving a Godzilla movie from the ground and might be more aptly named “Godzilla Takes Manhattan.” Still, it is truly a B-movie concept with A-level execution. Filmed in the style of minimalist cinéma vérité with the main action taking place over a 24-hour period, this tense adventure is delightfully immersive and filled with excitement at every twist and turn, although a satisfactory epilogue feels unfortunately absent.
At times the first-person camera work will make the viewer ill, it eventually settles to the point where one no longer notices. There are annoying eruptions of chaos and some repetitive dialogue, but these are fairly superficial in comparison to the overall emotional and visual strength of the film. The character of Beth (played by Odette Annable) stands out as glaringly weak in comparison to the remainder of the robust cast, with the exception of “Hud” (played by T. J. Miller), whose character may rank among one of the most annoying in history—nearly on par with Jar Jar Binks.
The most blatant issue Cloverfield is that it feels comprised of two separate films intercut together. The opening of film accurately captures 21st century youth in its indigenous environment, complemented by enough relationships and life problems to carry the rest of the film without any monster at all. While the monster portion of the film certainly connects the two parts of the story, they could have been separated into two equally-satisfying stories.
Cloverfield is also reminiscent of Quarantine (also 2008), only without the quarantine, or Godzilla meets The Blair Witch Project (1999).
Rating: 4 / 5
by James Gilmore
Excellent chemistry between Steve Carell and Tina Fey. Good concept, decent execution, and an interesting cast. The comedy focuses on normal people in extraordinary circumstances with an outcome of constant awkwardness. Jokes are never too over the top or out of place in the story. Carell and Fey do an excellent job of grounding the comedy in the reality of the story. Comedy aside, the film is packed with a lot of heart, made surprisingly powerful by the director’s work and the commendable seriousness of Carell and Fey.
by James Gilmore
Black Swan is perfect in both conception and construction, although the plot and main character leave something to be desired. Despite a very good script, Aronofsky’s masterful directing far exceeds it, nearly surmounting the story’s shortcomings. Nina and Erica Sayers both lack adequate character depth, as does their relationship. The end result is a strange film whose story fails to engage the audience enough to match the superb filmmaking which surrounds it. Once again, a potential masterpiece is thwarted by a thin script. On the other hand, the exquisite filmic storytelling boasts powerful imagery and cinematography with a strong European—but especially French—influence.
Excellent casting with outstanding performances by the actors. Mila Kunis’ surprising performance demonstrates her capability to grapple serious acting weight while Vincent Cassel’s work falls nothing short of superlatively stunning. Natalie Portman delivers her best performance to date upon transformation into the Black Swan, but otherwise remains her usual self in which she appears to be perpetually on the verge of tears.
On a side note, one might almost call Black Swan “The Machinist for Women.”
Story Science 